The 75th NHK Kōhaku Uta Gassen, held on New Year’s Eve, showcased both legendary artists and current favorites, yet it faced significant challenges reflected in its ratings. The average household viewing rating was 29.0% for the first part and 32.7% for the second, indicating mixed results compared to previous broadcasts. Yet, fans still enjoyed the notable performances, particularly from Ilka, who made her appearance after 32 years away from the stage, bringing nostalgia with her rendition of the classic tune 'Nagori Yuki.'
Ilka, now 74 years old, performed the same song she sang during her last appearance, captivating audiences with her powerful vocals and emotional delivery. The piece, which dates back to 1975, perfectly captures the poignancy of seasonal changes and relationships—a true staple of Japanese musical culture. Alongside her, iconic artists like Minami Kousetsu also took to the screen, reminding viewers of the timeless contributions they’ve made over the years.
Despite the nostalgia driven by veteran artists, the ratings revealed stark contrasts—especially when younger K-POP acts were juxtaposed against them. Groups like TWICE, LE SSERAFIM, and TOMORROW X TOGETHER lit up the stage, attracting much of the youthful demographic, leaving questions about how effectively the NHK Kōhaku Uta Gassen is reaching its entire audience.
TV columnist, Tamami Hiyama, reflected on this blending of old and new talent. She remarked, "I think the artists like Ilka and Minami Kousetsu are sending messages to the 'baby boomer' generation," emphasizing the importance of including such performers. Adding to this complexity, she noted Ilka’s bold fashion choice—a mini-skirt—which she interpreted as encouragement for her peers, highlighting the power of representation across generations.
Despite efforts to revitalize the event with diverse acts, the second half recorded its second-lowest ratings ever, raising concerns among producers and fans alike. Hiyama stated, "Last year was fun compared to this year," indicating perceived shortcomings in the overall entertainment value or presentation.
While the variety of talent reflected Japan’s rich musical diversity, it also showcased the struggle of traditional formats to maintain relevance amid shifting tastes. The incorporation of K-POP acts indicates NHK's desire to adapt; nonetheless, the event still needs to confront the challenge of unifying these diverse musical styles and audience expectations.
Even though the diverse roster of celebrity performances brought some excitement, including the debut of artists like B'z, who wowed the crowd with surprise hits, it didn’t produce the viewership boost organizers anticipated. The share of popular yet diverse acts seems insufficient to counteract the preferences of older generations for the emotional resonance they feel with traditional Japanese musicians.
Each element, from Ilka’s inclusion to K-POP's growing influence, signals the tensions within modern Japanese entertainment—balancing legacy with innovation. Japan's entertainment scene continues to evolve, moving the Kōhaku Uta Gassen toward the need for embracing both heritage and the contemporary global market.
The NHK Kōhaku Uta Gassen stands at the crossroads of tradition and modernity, and how it chooses to navigate this terrain will dictate its future relevance. With the stakes high, both artists and audiences invested, the NHK must discover not just what is entertaining, but what resonates deeply with all generations to maintain its position as Japan’s premier annual televised musical event.